Marius BUNING and/et Sjef HOUPPERMANS: Introduction/Introduction. I THÉATRE/THEATRE. Enoch BRATER: Opening Lines: Reading Beckett Backwards. Emmanuel JACQUART: Beckettissimo: Beckett virtuose de l’echo. Fin de partie et l’essence du bouddhisme. Jürgen SIESS: Staging of Institutional Tensions in Beckett’s Plays. Mariko Hori TANAKA: Postmodern Stagings of Waiting for Godot. Julie CAMPBELL: The Semantic Krapp in Krapp’s Last Tape. Catherina WULF: La Quete de l’inexplicable: Watt de Samuel Beckett et Marcher de Thomas Bernhard. S.E. GONTARSKI: Staging Himself, or Beckett’s Late Style in the Theatre. Ulrich SCHOENLEBER: Baal Meets Belacqua: Une rencontre entre Brecht et Beckett. Giuseppina RESTIVO: The Iconic core of Beckett’s Endgame: Eliot, Dürer, Duchamp. Minako OKAMURA: Quad and the Jungian Mandala. III SUJETS SPÉCIAUX/SPECIAL TOPICS. Andrew KENNEDY: Beckett and the Modern/Postmodern Debate. Ciaran ROSS: Toute blanche dans la blancheur: La prédominance de la métaphore blanche dans l’écriture beckettienne. Mary BRYDEN: Sounds and Silence: Beckett’s Music. Catherine LAWS: Richard Barrett’s ne songe plus a fuir: Beckett in Musical Translation? Kim CONNER: Beckett and Radio: The Radioactive Voice. Hans H. HIEBEL: Beckett’s Television Plays and Kafka’s Late Stories. Stéphanie RAVEZ: Tombeau du regard/regard du tombeau: Place de l’imagination chez Ignace de Loyola et Samuel Beckett. James E. ROBINSON: Sisyphus Happy: Beckett beyond the Absurd. Anna McMULLAN: Versions of Embodiment/Visions of the Body in Beckett’s ¼ But the Clouds ¼ Luc FRAISSE: Le Proust de Beckett: Fidélité médiatrice, infidélité créatrice. Laura VISCONTI: The Artist and the Artisan: Beckett as a Translator of Italian Poetry. QUATUOR: Entretien de quatre metteurs en scène. Mark BATTY: Damned to Fame: The Life of Samuel Beckett (Review).